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The audience enter a warehouse, decorated like a tea party. Or maybe a rave. They are given a party hat, a name-tag (pre-written), and a set of instructions. The party will begin at 19:45 prompt.

A Party After the End of the World is for re-imagining what human gathering and celebration means. It’s a antidote to the alienation and isolation of modernity. It gasps at what we have to do to connect, and does it anyway. It also has a human-glitterball. And a quiz. And a place to go if you don’t want to talk to anyone but you don’t want to home.

We’re fed up of rooms full of pilled-up young people, each withdrawn into their own world, their own pain. A Party After the End of the World is for radical inclusivity. It’s addressed to all people, all strangers, all with their fear, difference, and need to get down.

A Party After the End of the World has a radical heart, and it dances with the lights on. Until we turn them off.

Supported By

Theatre Deli
Festival of Debate


STATE OF THE ARTS: – “I found myself in a room full of almost strangers, giddy with the possibility of positive human interaction, and a new understanding that this work so subtlely and cleverly has highlighted our separateness and brought us all together.”

THE QUIETUS: – “If the whole night was an exercise in melting the social anxiety of a large group of strangers, then it worked as well as any drug – we could have known each other for a decade rather than an hour … We were more than active participants in the experience, we were the experience.”

RMC MEDIA: – “Theatre has a tendency to make people feel trapped in seats, like they can’t make a sound or go to the toilet, but there was freedom for the duration of the show to leave the set and go to the bar, to explore the various spaces in the party, to talk to your friends, and to feel part of something rather than distant from an elitist piece of theatre. … I found it hard to join in with the ending as I was so astounded by how clever it was. … It is this sort of writing, that experiments with the roles of the audience and inanimate objects that only comes from a very talented and imaginative writer such as Andy”


Director – Andy Owen Cook
PerformanceLucy Haighton / Amy Blake / Adam Magennis / Andy Owen Cook
SoundLuke Thomas
Stage – Luke Cornwell
Design – Jack Poole
Photos – Alfie Heffer

With thanks to Opus Independents, Foodhall, Alfie Heffer, Grace Darbs, Jack Nicholls, Eve Cowley, Sebastian Chew, Sarah Sharp, Dan Bale, Jessica Brewster, Lauren Stone, Angela Evans, Jonathan Cook, Ali Pritchard, Guinevere Plouviez-Comnas, Julia White, and many many others.

“When Lucy said she wanted to do a party, I said no.
But then Lucy said no is just yes with different letters.
And I guess she was right because here we are…”